 Bright Eyes is a ?representative? of modern makeup
Added: 10/26/2005 |
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In Western theatre, makeup is used for two purposes: to emphasize and reinforce facial features that might otherwise be lost under bright lights or at a distance and to alter signs of age, skin tone, or nose shape. Modern makeup made with white eyeshadow takes the place of charcoal and brilliantly updates the smoky eye with a glowing, ethereal edge. For real-life elegance, wear it with black mascara instead of white. Going out tonight? Add extra-long, flirtatious falsies.
Makeup obviate the use of the face for expression and communication and thus render the performer more puppet-like; expression depends solely on voice and gesture. Because the mask's expression is unchanging, the character's fate or final expression is known from the beginning, thereby removing one aspect of suspense. The mask shifts focus from the actor in theatre to the character and can thus clarify aspects of theme and plot and give a character a greater universality. Modern makeup indicate symbolically significant aspects of the character. The majority of women, particularly young girls, dress in a large amount of 20th century makeup. That`s why many schools on makeup were made.
Although several makeup artists and groups of makeup artists in the 20th century makeup would independently teach various aspects of professional modern makeup artistry at which they were proficient, all of the instruction was in the form of seminars that were not state-approved, and therefore could not be classified as schools for professional 21st century makeup artistry. Many cosmetics companies in the past provided seminars for the purpose of promoting and selling their products, but these could not also be classified in this way. Other seminars, taught by union of makeup artists for the purpose of training individuals to pass the union test and/or to provide them with information that would permit them to pass specific areas of the test, were also not state-approved, and could only be considered to be private seminars, and were thus not schools.
Considering all above mentioned informatiion, once the apprentice program had been dissolved, there was no place where an individual, who wished to become a modern makeup artist, could go to learn all phases of professional makeup artistry in an organized, systematic, and comprehensive manner. Joe Blasco designed a curriculum and acquired state-approved status for a small salon located at 1313 Westwood Boulevard in Los Angeles, that was owned by Linda and Stewart Haines.
Blasco had been working at the Los Angeles Times when an advertisement for that salon piqued his interest and helped generate in him the idea that a professional school for the 21st century makeup artistry was needed. He convinced the owners that the salon, which up until that time had sold private label cosmetics and only instructed mature women in self-applied hairstyling techniques, application of eyelashes, and other society of modern makeup artistry, could be transformed, under his guidance, into a full-fledged, state-approved school for professional make-up.
The owners agreed and took a chance on Blasco`s idea by hiring him . Under Blasco`s direction and efforts, the school became state-approved and successful enough that a new, larger location was needed, and the company moved to the Wilshire district. At this school, Joe Blasco created the first omprehensive syllabus that taught professional 20th century makeup artistry from the beauty makeup to detailed foam latex prosthesis fabrication and application. Some years later, Blasco left the school of modern makeup to accept a job as an independent apprentice/employee at makeup studio on Santa Monica Boulevard where Ben taught the intricacies of film makeup artistry, in addition to cosmetics chemistry.
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